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What began as an appreciation of Gothic stained glass, and its various arches and geometric patterns soon became a deep dive into architecture as a function and reflection of thought and philosophy. It is without doubt that any structure – from a block of flats in a city, to a monolith, to even a Victorian Gothic cathedral – is not without careful intention and a delegation of immense time from its designers and sculptors. Using the motifs of Gothic architecture as an example, there are a multitude of meanings hidden beneath its surface-level beauty.

The term ‘Gothic’ has a long history, beginning at the Goths – a pre-Germanic society, known for invading the Roman empire in the 4th century AD – to 16th century aesthetic, and its revival during the Victorian era. The late Renaissance was filled with minds obsessed with classical thought and architecture, so much so that Gothic architecture also takes note of Grecian principals. Strong columns, decorative flourishes, and symmetry all were inspired from ruins of the past; however, what makes the Gothic movement unique is the ribbed arches that shape interiors and windows. Just as the Gothic is inspired by the Classical, it is likewise an opponent. The term was not used in endearment by Italians of the Renaissance, and instead was considered quite ugly when compared to Romanesque structures. Thinkers at the time often considered Gothic architecture to be “barbarous” and “destructive”, much like the Goths were to their beloved Roman empire. In this way, it does seem that “Goth” then was just as subversive and against the grain as the subculture is today.

Gargoyles adorning the St. Paul’s Cathedral in Pittsburg, Pennsylvania. Designers used the Cologne Cathedral in Germany as inspiration for the building’s towering peaks and Gothic accouterments. Photo Courtesy of Wikimedia Commons.

Besides its innate revelry in beauty, there is a great deal of intention between many of these buildings’ designs. There are many examples, from the Notre Dame in France to the Cologne Cathedral in Germany. However, no matter the location, each structure has similarities in its features, as well as its symmetrical design. The religiosity is integral to the aesthetic; arched windows were seen as a great way to maximize the amount of natural light within the building. Stained glass was no longer just a means of storytelling, but also a celebration of natural beauty and the full spectrum of color. Numerology was also of the utmost importance, as divine sequences of numbers carried great weight amongst mathematicians and religious philosophers alike.

South Rose Window of the Notre Dame Cathedral in Paris, built in 1260 according to Friends of the Notre-Dame de Paris. Photo Courtesy of Wikimedia Commons.

The “midday rose” of the Notre Dame Cathedral exemplifies many of these qualities. Roughly thirteen meters in diameter, this 84-panel dedication to the Last Judgement features all twelve apostles, numerous revered saints of France, and several Biblical stories, from Adam and Eve to the resurrection of Christ. The colors of the glass are rich and vibrant, masterfully arranged in awe-inspiring mosaic. Twelve appears to be the number of most significance, not only representing the number of Christ’s apostles, but also a figure that to Christians represented divine order and completeness. The 84 panels can be divided by twelve into seven groupings. Seven is also a significant number, associated with holiness, fortune, and perfection.

A symbol found repeatedly amongst Gothic buildings is the trefoil. This well-known image is the outline of three overlapping rings. It is most similar to the knot of the same name, known by many ancient cultures (Celtic, Nordic, etc.) as the triquetra. Within Christianity, it symbolizes the Holy Trinity: the Father, the Son, and the Holy Spirit. Although, this may be the intention during many of these churches’ conceptions, the number three has always been a constant in monotheistic and polytheistic faiths alike. Triple goddesses have been seen amongst the Greeks, the Norse, and even in the modern faith of Wicca. Pythagoras, known for his obsession with triangles, and the Pythagorean theorem, also favored the number three (self-evident by the triangle itself). The pattern of overlapping circles extends to the other features of tracery that adorn Gothic windows at the base of columns. Along with the trefoil there is also the quatrefoil and the cinquefoil – four cusps and five cusps respectively. It appears, unlike the trefoil, they have no other inherent meaning other than to resemble leaves of clovers, which contribute to the buildings’ romantic quality.  

From Charles Knight's Pictorial Gallery of Arts, 1858, as part of the Gothic Revival Movement. Includes notations regarding arches, tracery, crosses, etc. Courtesy of New York Public Library Archives.

Not all elements of Gothic architecture were simply decorative. The gargoyle served a function just as it served to ward off evil. The medieval gargoyle was actually a method of transporting water, so that roofs would be protected from damage for the rain. Tall arches distributed the weight of walls and their ceilings; buttresses and columns quite literally also did the heavy lifting. These were all elements inspired by Classical architecture found in Greece and Rome.

When looking at the characteristics of Gothic architecture – in all of its beauty – we also see aspects of ritual, pattern, and faith unique to the experience of being human. We often seek meaning through religion, and it is fascinating that the synthesis of theology, philosophy, and mathematics, is capable of designing these manmade wonders of the world. These buildings are truly made in honor of something beyond the architects and laborers. While churches stand in devotion to a higher power, Gothic architecture is also a means of celebrating knowledge seekers and the enlightened, as these structures adorn some of our oldest universities.

Christ Church College Hall, of Christ Church College in the University of Oxford. Built in the 1520s. Photo by photographer Graeme Wall in 2010.

A glance outside can easily tell anyone that architecture is not as glamorous or decorative as it used to be. While our primary influences now are utilitarianism, simplicity, and inorganic shapes, there was a time when this was not always the case. The early modern era reminds us that structures can just as well house our bodies, as well as be an extension of us: our thoughts, our feelings, and our values. Gothic architecture may have been seen as barbarous to Roman loyalists, but now can be seen as a stunning example of when the arts and spirit come together in harmonious union. Perhaps by examining our own interests and passions, we can create spaces that better represent us, and find self-expression in areas of life that are overlooked.

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